The proof of spring is slow but sure to come, forecast by animals whose intuition is unmatched: birds stirring in the South begin the trek north, bears hibernating burrow out of a winter-long slumber, and bees begin to flit, anticipating miles of flora to pollinate.

“Charlotte’s Web,” the acclaimed children’s book by E.B White, exemplifies best a creature’s gift of seeing what others fail to. Originally published in 1952, the story follows Charlotte, a spider and resident farm sage, who is able to discern the virtuous qualities of the animals that surround her.

“Charlotte is really a dynamic character,” says Mahogany Walker, who will don arachnid garb as the lead character in Hedgerow Theatre’s production of the stage version of White’s book, to open March 23.

“She’s a spider, but she’s a spider who has to show vulnerability and strength at the same time,” she says. “She’s like Mother Earth — she’s wise, she knows what she’s talking about, and she really wants to see the best in everyone. Performing this role is a challenge I can grow from.”

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The performance will also mark Walker’s directorial debut.

“Making this story come to life has been an extremely humbling process,” she says. “The children I’m working with are absolutely amazing and they just love what they’re doing.”

“Charlotte’s Web” follows Wilbur, a pig born the runt of his litter, and who at the time of the story faces his end with an impending visit to the slaughterhouse. Charlotte concocts a brilliant plan to save Wilbur by leading the farm’s other occupants — both animal and human — to see the pig’s remarkable characteristics.

The multigenerational cast includes budding Hedgerow Theatre students as young as 5 years old who take part in a course that prepares them for the performance.

Susan Wefel, a 35-year veteran of the Hedgerow stage and the performer behind this year’s Wilbur and narrator, sees a connection between Charlotte’s role as an older and wiser member of the farm and the mission of Hedgerow’s education program.

“There are older people acting along with the young students, and we all learn from each other,” says Wefel. “The show-class concept is really great for these young ones, who get their first onstage experience.”

In the class, Walker says, the children “learn the rehearsal process, backstage work, technical work, costuming — all the things that make the production come to life. It’s a really great experience for the kids.”

Faced with the challenge of portraying hogs, sheep and geese, the young actors at Hedgerow are prompted by Walker to develop a sense of movement alongside vocal cues.

“While directing them, I don’t want their movements to be something a typical animal would do,” says Walker. “I ask them, ‘If you were a sheep, what would your body movements look like? What are those characteristics?’ They have to learn to use their creativity to bring their character to life. It is really about the mind and the body and what they feel is right when it comes to their character.”

Despite the artistic license afforded these young actors, the inspiration for “Charlotte’s Web” was very real.

“E.B. White wrote ‘Charlotte’s Web’ about a fair in Maine,” says Wefel. “It was based on his personal experience with farmers.”

Of course, White’s story and the performance by this cast of multigenerational performers testifies to a truth that goes beyond fur, troughs and lofts stacked high with hay.

“It really is a story of friendship,” says Walker. “It’s a story of love. It’s a story about the fact that no matter what you look like, no matter if you believe you have shortcomings, there’s something special about every person.

“As long as you hold onto what makes you unique, then you can go anywhere in life,” she says. “That’s what makes it so timeless.”